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Full text of "Fritz Kredel, woodcutter and book illustrator, Hermann Zapf, calligrapher and type designer : a joint exhibition"

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KREDEL 



ZAPF 



THE COOPER UNION MUSEUM FOR THE ARTS OF DECORATION 



A JOINT EXHIBITION 

AT THE COOPER UNION MUSEUM FOR THE ARTS OF DECORATION • COOPER SQUARE AT 7TH STREET. NEW YORK 



FRITZ KREDEL 

woodcutter and book illustrator 

HERMANN ZAPF 

calligrapher and type designer 



MONDAY 15 OCTOBER UNTIL THURSDAY 25 OCTOBER 1951 
MUSEUM HOURS: MONDAY THROUGH SATURDAY, 10 A. M. TO 5 P. M. • TUESDAY AND THURSDAY EVENINGS UNTIL 9:30 






Acknowledgment this display of the work of Mr. Fritz Kredel and 
Mr. Hermann Zapf, the third to be held in the Museum 
in recent years in which the graphic arts have figured, 
reflects at once a growing pubHc interest in the design 
of books and an increased emphasis placed upon book 
design in the art training of today. The present exhibi- 
tion, modest in scope, has been arranged at the request 
of The Cooper Union Art School; and the Museum is 
indeed grateful to Mr. Kredel and Mr. Zapf for their 
generosity in making available the examples of their 
work here shown. To Huxley House, which at its own 
expense has printed announcements and this catalogue, 
and to Mr. Paul Standard, to whose efforts the exhibi- 
tion is due, are given appreciative thanks. 

Calvin S. Hathaway 



A Note Upon the Joint Exhibition of Work of Fritz Kredel & Hermann Zapf 



FOR A THOUSAND YEARS before Gutenberg, illumi- 
nated manuscripts carried in their pages the seeds of 
many a later art. The illuminations themselves have long 
been esteemed as an inspired source of Western painting; 
their accompanying text-hands gave the impetus to the 
evolution of European scripts, and hence to the devel- 
opment of the type forms the new craft of printing was 
to require; and the rubrications and lesser decorations 
in manuscripts were destined to bring printer's flowers 
and illustrative woodblocks to the service of the printed 
book. 

The Cooper Union Museum for the Arts of Decora- 
tion, to mark the spirited survival of these related arts, 
has chosen for display the work of two noted practi- 
tioners: Fritz Kredel of New York, and Hermann Zapf 
of Frankfurt who is now visiting too briefly the land 
of Frederic W. Goudy, Bruce Rogers, T. M. Cleland, 
W. A. Dwiggins and the late D. B. Updike. 

Kredel's fame as associate of the late Rudolf Koch at 
the latter's Offenbacher Werkstatt had preceded him to 
the land of his recent adoption, where he has won wide 
recognition for his vigorous woodcuts, for his rugged 



book illustrations and for his incisive 'calligraphic' draw- 
ings. The show includes some of his earlier work from 
the days of his collaboration with Rudolf Koch, notably 
the three-volume Blumenbuch, which remains the finest 
woodcut flower-book of our century. Another land- 
mark in book illustration is his series of woodcuts for a 
marionette version of Dr. Faustus, its archaic text de- 
rived from A4arlowe's contemporary Elizabethan play 
and privately published last year. Kredel's newer 'calli- 
graphic' drawing style is represented by his recent Can- 
dide, done here for the Peter Pauper Press. Alike in 
black-and-white and in color, Kredel's woodcuts and 
drawings echo his personal traits: humor, vitality, grav- 
ity and scholarship. His lifelong studies of ancient armor 
and military uniforms brought him a major commission 
—to do the illustrations for Frederick P. Todd's Soldiers 
of the Ajnerican Army, iii^-i^^i. Their stalwart and 
alert vigor and their authentic colors won from the New 
York Sun in 1941 a seven-column review of this splendid 
book— a recognition rarely equalled in American jour- 
nalism. 

Rated at 32 among post-war Germany's impressive 



talents, Zapf started as a retoucher in an engraving plant 
at Nuernberg. But his passion for letter forms enabled 
him in the ensuing fifteen years to complete some fifty 
manuscript projects of various lengths and in various 
scripts. Of these manuscripts a round dozen appear in 
the present exhibition, including the gem-like version of 
Goethe's Der westoestliche Divan, which is in fact his 
latest scribal work. Also in the show is his now famous 
Feder und Stichel, a book of twenty-five of his calli- 
graphic plates cut in lead by August Rosenberger and 
printed on Fabriano paper, its five text pages set in the 
author's new Palatino roman type. Of this volume, so 
stem a critic as Jan Tschichold declared to the under- 
signed that no book in the last hundred years shows a 
comparable perfection of printing. Zapf's more recent 
type designs are shown in progressive stages, from orig- 



inal sketches through working drawings to finished 
proofs. 

Because of unforseeable travel complications, the pres- 
ent joint exhibition could be arranged only through ex- 
ceptional and devoted emergency work by the principals 
involved, and by other bibliophiles and calligraphiles. 
Finally, it should be recorded that Messrs.Walter Huxley 
and Franz Hess of Huxley House, admirers of the work 
herein described, have of their own motion contributed 
all the printing occasioned by the present show, the dis- 
play type used being the new Trajanus face designed by 
Warren Chappell, the only native American pupil of the 
late Rudolf Koch. 

Paul Standard 

New York, 6 October 195 1 




FRITZ KREDEL 

woodcutter and book illustrator 



K-i Das Blumenbuch (The Book of Flowers) ; wood- 
cuts after drawings by Rudolf Koch, hand-colored. 
Leipzig: Insel-Verlag, 1923-30. 

K-2 Eight Prints, hand-colored impressions from the 
original woodblocks for Das Blmneiibuch: 

Moehre (Queen Anne's Lace) 

Kratz-Distel (Thistle) 

Glanz-Gras (Grass) 

Glockenheide (Heather) 

Loewenzahn (Dandelion) 

Silberdistel (Silver Thistle) 

Heckenrose (Wild Rose) 

Tuerkenbund (Turk's Cap Lily) 

K-3 Das Kleine Buck der Voegel und N ester (The Lit- 
tle Book of Birds and Nests) ; watercolor, printed in off- 
set. Leipzig: Insel-Verlag, 1934. 

K-4 Sta7mnbaii?n der Schrift ( Family Tree of Scripts ) ; 
pen drawing with watercolor; hand-colored impression. 
Frankfurt: Bauersche Giesserei, 1937. 

K-5 Albert Wesselski, Editor: Deutsche Maercheji vor 
Grimm (German Fairy -Tales before Grimm); pen and 
watercolor drawings. Brunn: Aurora -Verlag, 1938. 



K-6 Dr. Heinrich Hoffman: Der Struivivelpeter (Slov- 
enly Peter); newly drawn after the originals and cut 
on wood, hand-colored. Potsdam: Ruetten & Loening, 
1938. 

K-7 Schnitzelbank: verses illustrated with pen draw- 
ings, hand-colored. New York: The Press of the Woolly 
Whale, 1938. 

K-8 Grass Flowers from the Ware Collection in the 
Botanical Museum of Harvard University; watercolor. 

K-9 Two Original Watercolor Drawings for illustra- 
tions to the above. 

K-io Giovanni Boccaccio: The Decameron; 2 vols, 
woodcuts. New York: The Limited Editions Club, 1940. 

K-i I Giovanni Boccaccio: // Ninfale Fiesolano; wood- 
cuts in 1 6th century st>de recut after the originals of 
Bartolommeo di Giovanni. Verona: OfHcina Bodoni, 
1940; accompanied by photographs of original wood- 
cuts, and prospectus sheet. 

K-I 2 Frederick P. Todd: Soldiers of the A7Jiericaii 
Army, /jj^-ip^i; brush drawings, hand-colored. New 
York: H. Bittner & Company, 1941. 



K- 1 3 Pedro Antonio de Alarcon: The Three-Cornered 
Hat; with woodcuts, hand-colored. Printed on a hand 
press by Victor Hammer. New York: H. Bittner & 
Company, 1944- 

K-14 Voltaire: Candide; calligraphic illustrations. 
Mount \ernon, N. Y.: The Peter Pauper Press [1947]. 

K-15 Rudyard Kipling: Barrack-Rooin Ballads & De- 
partmental Ditties; pen drawings. Mount Vernon, N. Y.: 
The Peter Pauper Press, n. d. 

K-i 6 Sir William Schwenk Gilbert: H. M. S. FtJiafore; 
pen drawings with watercolor printed by offset. New 
York: Dutton, 1946. 

K-17 America!! Artist; cover on scratch-board. New 
York, April 1947. 

K-18 Heinrich Heine: Poejns and Ballads, translated 
by Emma Lazarus; scratch-board drawings. New York: 
Hartsdale House, 1947. 

K-19 Robert Fortenbaugh: The Nine Capitals of the 
United States; Sixth Annual Keepsake of the Maple 
Press Company; pen drawings with two flat colors. 
York, Pa., 1948. 



K-20 The Complete Andersen: All of the 168 Stories 
By Hans Christian Andersen; pen drawings with water 
color. New York: The Limited Editions Club, 1949. 
K-2 1 Benvenuto Cellini: The Life of Benvenuto Cel- 
lini; pen drawings, hand-colored. New York: Heritage 
Press, 1949. 

K-2 2 Doctor Faust: Das Alte Pi/ppenspiel; woodcuts, 
hand-colored. Frankfurt: Bauersche Giesserei, 1950. 

K-2 3 Fretich Wit arid Wisdom: pen drawings and 
jacket. Mount Vernon, N. Y.: The Peter Pauper Press 
[1950]. 

K-24 Patricia Benton: The I^Hnspering Earth; wood- 
cuts hand-colored. Printed by Robert Haas at The Ram 
Press, New York, 1950. 

K-2 5 Gottfried August Buerger: Wunderbare Reisen 
zu Wasser und zu Lande (Wonderful Journeys by Water 
and by Land); pen drawings. Wiesbaden: Insel-Verlag, 
1950. 

K-26 J. Meade Falkner: Moonfieet; pen drawings. Bos- 
ton: Little Brown & Company, 1951. 

K-27 Bouquet of Wild Flowers; woodblock and color 
print, 1 95 1. 



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HERMANN ZAPF 

calligrapker and type designer 



Z-i Feder und Stic/je/— Designed 1939-1941; edition 
of 500 copies on Fabriano paper, and 80 copies on Japan 
paper, privately printed from lead plates, hand engraved 
by August Rosenberger. All copies bound by Gudrun 
von Hesse (Mrs. Hermann Zapf ). 

Z-2 Liidwig van Beethoven, Opus 21, No. 2. MS. i o; 
Nuernberg 1937. Music notation in red and black, pre- 
ceded by a foreword in fraktur. 

Z-3 Hermann Zapf, Die Entivicklung der Noten- 
schrift. Copies of originals and prints. Title page on 
parchment. Frankfurt 1938. 

Z-4 Vier ernste Gesaenge, by Johannes Brahms. Opus 
121, written 1938. Music notation and fraktur verses. 
Three hundred copies printed in 1939 for the Maxi- 
milian Gesellschaft, a major bibliophile group in Ger- 
many. 

Z-5 Rudolf Koch, William Morris. 1923. MS. 19; 
Frankfurt 1939. Rotunda. 

Z-6 Wenn auch die 2.eit vergeht . . . Broadside in black- 
letter calligraphy, printed 1939. 



Z-7 Friedrich Hoelderlin, Griechenland. MS. 20 — 
Frankfurt 1939. Italic in gold oxide ink on tinted Japan 
paper. 

Z-8 Friedrich Hoelderlin, An Diotima. MS. 24; Nuern- 
berg 1940. Roman cursive. Black niger morocco with 
gold meander stamping by Gudrun von Hesse. 

Z-9 Briefe der Diotima. The letters of Suzette Gon- 
tard to Hoelderlin. MS. 25; Nuernberg 1940. Fraktur 
itaHc. Scarlet morocco; gold-stamped by Gudrun von 
Hesse. 

Z- 1 o Hoelderlin, Lern im Lebeii die Kunst . . .T^'o lines 
in roman with Greek headline, on parchment. Nuern- 
berg 1940. 

Z-ii Hermann Loens, Die ivilden Heckenrosen sind 
noch einmal so schoen. Privately printed. Frankfurt 
1941. 

Z-i 2 Entwurf eines Briefes von Hoelderlin an Susette 
Gontard, 1797. MS. 34; Weimar 1941. French italic. 

Z-I 3 Auguste Rodin, Testa7neiit—i8.\o-igij. MS. 38; 
Dijon 1942. Roman cursive. 





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Z-I4 Friedrich Hoelderlin, Hyperion — (Extracts). 
MS. 42; 1944. Roman letter. 

Z-I5 Adolf von Grolman, Hoelderlin in Bordeaux. 
MS. 44; Bordeaux 1943. First trials for the italic of the 
subsequent Palatino type; with pen drawings in Bor- 
deaux red. 

Z-16 Franz Hirtler, Laurettas Florenti7ier Glas—AiS. 
45; Bordeaux 1944. Chancery itaUc with varied orna- 
mental capitals. 

Z-17 Johann Wolfgang von Goethe, Der Westoest- 
hche Divan— Buch Suleika. MS. 50; Nuernberg 1946. A 
version in Civilite Script, in gold and silver ink, bur- 
nished, on tinted Japan paper. Green morocco, gold 
tooled, by Gudrun von Hesse. 

Z- 1 8 I. Kant, Reich ist man nicht . . .Two lines in black 
letter. Nuernberg 1946. 

Z-19 A. C. Swinburne, hi Flammen steht die Welt... 
Four hnes in free italic, in red. Nuernberg 1946. 

Z-20 Das Bhimen ^BC— designed 1941-1946; editid 
of 200 copies. Single prints on Japan paper; privately 



printed from lead plates, hand-engraved by August Ro- 
senberger, and hand-colored. Frankfurt. Not yet pub- 
lished. 

Z-2 1 Group of sketches and studies of flowers for the 
Blumen ABC, 1942-46. 

Z-2 2 Goethe, Weii7i Sie wuessten, luie rob selbst gebil- 
dete Menschen... Italic in red and black on parchment. 
Nuernberg 1947. 

Z-2 3 Der Mensch lebt so dahin . . . Motto in black letter 
with hour-glass device, printed by Baerenreiter Verlag 
1947. 

Z-24 Wir heissen eiich hojfe?i... Motto in black letter 
M ith the Madonna of Nuernberg, printed by Dr. W. H. 
Lange Verlag. Offenbach 1947. 

Z-2 5 Herr schicke, ivas du willt . . .\ erse in black letter 
with angel. Printed by Baerenreiter Verlag 1947. 

Z-2 6 Und dennoch iverden Blumeji bluehn .. .'New 
Year's card in black letter; 1948. 

Z-27 Goethe,FeigerGedanke?ibae7iglichesSch'u:anken 
...Black letter on tinted paper. Frankfurt 1949. 



Z-2 8 William Morris, Sein Leben unci Werk. Frontis- 
piece portrait for the author's monograph. PubHshed by 
the Klaus Blanckertz Verlag, Luebeck 1949. 

Z-29 Drawing by Hermann Zapf and hand engraving 
by August Rosenberger after a Goethe portrait bust by 
Klauer of 1791. 

Z-30 Calderon, Welche Blume ist nicht ein suesser 
Einfall der Liebe. Broadside with italic script, privately 
printed 1949. 

Z-3 1 Book plates designed by Hermann Zapf between 
1938 and 1948. 

Z-3 2 Book Jacket: Hermann Kasack, Der Webstiihl. 
Suhrkamp Verlag 1949. 

Z-3 3 Book Jacket: Thomas Mann, Ansprache im 
Goethe Jahr 1949. Suhrkamp Verlag 1950. 

Z-34 Book Jacket: Bernard Shaw, Klassische Stiiecke. 
Suhrkamp Verlag 1950. 

Z-3 5 Book Jacket: Thomas Mann, Der Zauberberg. 
S. Fischer Verlag 1950. 



Z-36 Book Jacket: T. S. Eliot, Ausgeivaehlte Gedichte. 
Suhrkamp Verlag 1951. 

Z-3 7 Alfred Mombert, Der Immnlische Zecher—lnse\ 
Verlag 195 1 ; set in Palatino. 

Z-38 Gilgengart 1939. Design of 1939 based upon the 
printed book "Gilgengart" by Hans Schoensperger, 
early i6th Century. Produced by the D. Stempel A. G. 
Type Foundry, Frankfurt. 

Z-39 Palatino with Linotype ft^/fc — Designed 1947- 
1949 for the D. Stempel A. G. and for the Linotype 
GmbH Berlin — Frankfurt. First used in Feder und 
Stichel 1950. 

Z-40 Palatino— foundry italic. Designed 1949- 1950 for 
the D. Stempel A. G. Type Foundry, Frankfurt. 

Z-41 Festive Numerals — Designed 1949 for the D. 
Stempel A. G. Type Foundry, Frankfurt. 

Z-42 Sistina Capitals: Designed 1950 after studies in 
^jjOme for the D. Stempel A. G. Type Foundry, Frank- 
furt. 



Z-43 Type specimens on Japan Paper: 

Palatino Michelangelo 

Gilgengart Palatino Italic 

Sistina 

Z-44 Auguste Rodin, Vervmechtnis: Set in Trajanus, 
designed by Warren Chappell; with Michelangelo capi- 
tals by Hermann Zapf. 

Z-45 Hans Christian Andersen, Des Kaisers iieue 
Kleider: set in Gilgengart fraktur, with drawings by 
Cefischer; privately printed 1 949. 

Z-46 Gutenberg Jahrbuch /jijo— Semi-centennial vol- 
ume: text set in Linotype Palatino, and titling in Michel- 
angelo. Gutenberg Gesellschaft, Mainz. 

Z-47 Ludwig Richter — Es war einmal — Insel-Verlag 
1950; set in Gilgengart fraktur, with headings in Lutetia 
italic by Jan van Krimpen. 

Z-48 Hermann Hesse — M^gie des Buches — Privztely 
printed 1950; set in Palatino, and bound by Gudrun von 
Hesse. 

Z-49 Walter Bauer— D/e Arinee des Don Qiiijote—Sct 
in Palatino with Baskerville italic; drawing by Cefischer, 
and privately printed in 1950. 



Z-50 Ricarda Huch; Text in praise of Gutenberg's In- 
vention; set in Trajanus, and decorated with the device 
of the printers' guild. 

Z-5 1 Shakespeare— Po/ow/mj-' Advice to Laertes: set in 
Palatino. 

Z-52 Lichtenberg— yWefcr als das Gold; set in Trajanus 
itaUc; decorated with a drawing of a composing stick. 

Z-5 3 Goethe — Prooemion: set in Michelangelo, the 
display titling sizes created to accompany the Palatino 
type. 

Z-54 Almanack der Letternku?2st: Typographic an- 
thology set in type faces of the Stempel Foundry, 1950. 

Z-5 5 Das Fraenkische Jahr — by Anton Schnack. 
Printed for the Bibliophilen Gesellschaft at the Stempel 
Type Foundry, 1951. 

Z-5 6 Germaji a?id Austrian Porcelain by George W. 
Warde. Printed 195 1 atLothar Woeller Press, Frankfurt, 
set in Linotype Palatino. 

Z-5 7 Type specimens showing Palatino, Michelangelo, 
Sistina, Novalis, Festive Numerals, Primavera Orna- 
ments and Signs of the Zodiac, 1949-51. 



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